Here’s another collection of music culled from recent releases to help keep the summer vibe going. Check out new songs from indie veterans Spoon, Interpol, the New Pornographers and the Shins along with new bands such as Jungle and the Orwells. Vacationer, Parquet Courts and Ex Hex bring the party atmosphere while Christopher Owens, Stand of Oaks and Tweedy (Jeff Tweedy of Wilco) craft a mellow musical vein.
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George Clinton (of the Parliament Funkadelic fame) once called violinist and songwriter Lili Haydn “the Jimi Hendrix of the violin”, a compliment that’s as accurate as it is superlative. Hadyn’s skill with the bow and strings can be seen all throughout her latest outing, Lililand, which comprises 12 tracks that highlight her top-notch violin playing, honest lyricism, and musical creativity. (There’s a particularly brooding cover of Led Zeppelin‘s “Kashmir”, which takes to the violin quite well). Below you can stream “Elephant Trapeze”, Lililand‘s opening number.
One wouldn’t be wrong in calling Bee vs. Moth a jazz group, but there’s something else at play in the Austin, Texas trio’s sonic. The group, comprised of founding members Sarah Norris (drums) and Philip Moody (bass), as well as guitarist James Fidlon, plays music that sounds a lot like jazz but has the energy of something more raw and primal.
On the surface, there’s not a whole lot to suggest that Tetherball‘s music is anything more than some pretty hook-heavy rock and roll. For Steve Voss, the man behind the Tetherball name, however, there’s a great deal of deep lyrical exploration beneath the music’s surface, saying in the press release for his latest record Whimsy, “‘Tetherball’ deals mostly with the concepts of madness and perception.” Philip K. Dick, a science fiction writer as obtuse as he is beloved, is cited as an inspiration for much of Whimsy‘s material.
Brooklyn-based (who isn’t these days?) musician Monika Heidemann, who records under the all-caps HEIDEMANN, peddles in emotive-synth driven music that emphasizes her voice. The instrumental backing to her music, comprised of synths, bass, and analog drum programming, is largely unobtrusive, allowing her voice to rise to the forefront and create a somewhat brooding mood. Orphan, her debut EP, forms a clear statement of intent in this regard.
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